The Music of My Life – 2020-2025

Last May I began this feature. Today, I will finish it off by looking at 2020 through the present. As I got closer to the end, it became difficult for me to pick ten songs from each year. Proof of this will be evident from this post.

The songs that I featured each year had to connect with me in some way. It was attached to a core memory. Maybe it reminded me of one of my kids or a friend. Maybe it was a song from my years DJing. Maybe it was just a song that I liked a lot. The only real rule was that it had to be released in the year featured. With that in mind, let’s see how the last five years of music connects with me….

2020

There were no songs that really hit me in 2020. Thank you, Covid

2021

The world was still reeling from the pandemic. There was so much uncertainty. Many folks reconnected with their faith, as I did. I went back and watched the Bible classes I had taken. There I found comfort and the strength to get through things.

I want to say that a friend of mine asked if I had ever heard the song “My Jesus” before. I hadn’t and I found it online. It hit me immediately and I shared it with my wife. It is a powerful song, but even more powerful when you hear the story behind it.

Anne Wilson’s life changed in more ways than one when her older brother, Jacob, died in a car accident at 23. She told songfacts.com: “It was so tragic. He was my best friend. That’s actually how I started singing and how I got into music and that’s why I wrote the song ‘My Jesus.'”

After losing her brother, Wilson processed her emotions through journal entries. As she flicked through her entries before a writing session with Matthew West and Jeff Pardo, the young singer had an idea for a song. She told Billboard: “I walked through a really tough season of grief. I remember having this moment where I wanted to give up on life. When I looked back at my journals, I saw how God pulled me through. I also realized I never referred to God as anything else, except ‘My Jesus.'”

When she brought the title into the writing room, it turned out that the two others had that same exact title as an idea. None of the three had spoken about it, so it must have been “a total God thing.”

My Jesus

2022

No songs

2023

When I heard that they were releasing a new Beatles song, I hoped it would be better than Free As a Bird. When they released that for the Anthology stuff, the technology wasn’t as good as it was in 2023. Because of this, Lennon’s vocal sounds tinty.

Songfacts tells the story:

“Now and Then” was originally written and recorded by John Lennon around 1977 as a solo piano track. After his death in 1980, the unfinished demo floated in limbo until 1994 when his widow, Yoko Ono Lennon, gave the recording to the three surviving Beatles, along with Lennon’s demos for “Free as a Bird” and “Real Love.”

Paul McCartney, George Harrison and Ringo Starr considered “Now and Then” as the third Beatles reunion single for their 1995–1996 retrospective project The Beatles Anthology, following “Free as a Bird” and “Real Love.” After two days of recording, it was scrapped, largely because Harrison’s didn’t like it.

In 2022, using advanced technology and a curatorial touch, Paul McCartney and Ringo Starr completed the track. The same AI restoration technology Peter Jackson used on the Beatles documentary Get Back was applied to Lennon’s vocal take.

“Back in 1995, after several days in the studio working on the track, George felt the technical issues with the demo were insurmountable and concluded that it was not possible to finish the track to a high enough standard,” Harrison’s widow, Olivia, said. “If he were here today, Dhani and I know he would have whole-heartedly joined Paul and Ringo in completing the recording of ‘Now And Then.'”

Besides Lennon’s John’s vocals, “Now And Then” includes electric and acoustic guitar recorded from the scrapped 1995 sessions by Harrison, a new drum part by Starr, and bass, guitar and piano from McCartney that matches Lennon’s original playing. McCartney added a slide guitar solo in Harrison’s style “as a tribute to George.”

“Now And Then” became the first AI-assisted song to earn a Grammy nomination, and the first to win, when it took the award for Best Rock Performance at the 2025 ceremony.

As a life long Beatles fan, I was impressed with just how good this one turned out.

Now and Then

2024

My wife will often listen to Pandora as she gets ready for work. The next song seemed to play on there at lot. It also seemed to play on her Sirius XM station when we went anywhere. It sort of had a catchy hook, but it wasn’t so good that I’d buy it.

One day I was driving with the kids in the back of the car and my daughter started singing “Excuse me, you look like you love me…” over and over again. It made me chuckle.

You Look Like You Love Me

2025

There has not been any songs from this year that connect with me. I tend to listen to audio books or songs from my iPod when I drive, so I don’t really get to hear anything new anyway. I’m ok with that.

Wow. Five years and only three songs. What a way to wrap up a feature, huh? Well, technically, I had wanted to wrap this up in May. So I have an idea on how to fill a couple Wednesdays and still keep it musical. Tune in next week to find out more….

Turntable Talk #30 – The Most Fab of Them All

It’s time again for my contribution to Dave from A Sound Day’s monthly feature Turntable Talk. If you are keeping track, this is round #30! Way back when we started this, he asked us if the Beatles were still relevant. This time we circle back to the Fab Four and Dave wants us to write about our favorite Beatle. He is calling this round The Most Fab of Them All.

I have struggled in the past to narrow down what song or artist I am going to write about, but never like this. It shouldn’t be hard to pick one guy out of four, right? For me it is, believe it or not. Frankly, and I mean no disrespect to Dave, the topic is unfair. To me, a musical group or band is the coming together of people, each contributing something unique. Like a puzzle, when all the pieces come together, you have something amazing. To have to choose one is a daunting task.

Let me start by saying that if you had asked me as a kid, without a pause, I would have chose Ringo. This may be because I was so familiar with the Beatles cartoon and Ringo always made me laugh. I also really enjoyed the almost all of the songs that he sang lead on. He went on to have some solo hits post-Beatles, too.

There are times I might have picked George Harrison, but probably not because of his Beatles stuff. Don’t get me wrong, he wrote the amazing song “Something,” which even Sinatra said was a beautiful love song. I also loved a lot of the early songs he sang on. Everybody’s Trying to Be My Baby is one of my favorites. George really gained my respect as a musician and songwriter post-Beatles.

John was a quick wit and always made me laugh when I saw him in those early interviews. You cannot deny the songwriting power that he had both solo and with Paul McCartney. He really wrote some deep songs. To me, it is interesting to look back and see how he put much of his hurt, suffering and confusion into a song.

John was also a guy who wasn’t afraid to take a stand for something. Many of his solo songs are still as relevant today as they were when they were released. If only the people would listen to the lyrics of Imagine, maybe we’d see a change? Every Christmas I hear War is Over, yet every day when I go to MSN, there is some new story about Putin and World War III. Obviously, Give Peace a Chance is not something any of the world powers wants to do.

Then, there is Paul. I don’t have to really say much about his songwriting abilities. As a matter of fact, if you look at the output of the Lennon-McCartney machine, you cannot help but be in awe of the volume of work they put out. As a musician, he really was the greatest talent of the group. Before you get up in arms, let me prove it to you.

We know that he was best known for playing bass guitar for the Beatles. Growing up, his first instrument was the trumpet (given to him by his dad). He also knew how to play the piano, and did so on Beatles songs like Slow Down and Ob La Di Ob La Da. While it is a simple tune, you can hear Paul’s drumming skills on The Ballad of John and Yoko. As a matter of fact, he can play over 40 instruments including mandolin, cello, harmonica, harpsichord, and the ukulele. Watch his video from 2020 for Find My Way and you will see him playing many (FYI – it’s not my favorite McCartney song, but it is a good illustration).

While many songs had both John and Paul listed as writers, many were “all Paul.” Yesterday, Hey Jude, Blackbird, and Here There and Everywhere, just to name a few. Paul said once that the last one was the only one that John had ever complimented him on. John said in an interview that it “was all his” and was “one of my favorite Beatles songs.”

So why am I picking Paul? Honestly, if it wasn’t Paul it would be Ringo for the simple fact that they are still around. Both are still touring and in the public eye. I love watching Paul do interviews. He is fun to watch, tells great stories and isn’t afraid to be a part of something a bit silly.

One of my favorite McCartney moments was when Chris Farley interviewed him on SNL for the Chris Farley Show bit. How Paul kept a straight face through that still amazes me. Farley asks him, “Remember when they said you were dead? That was a hoax, right?” and Paul simply says, “I wasn’t really dead!” That always makes me laugh. How Paul keeps a straight face through the bit is beyond me. I wish there was a better quality clip…

There’s another great SNL bit where he and Martin Short and doing something for a Christmas Pageant. Martin says that he and Paul are a team but he is the only singer because Paul “cannot sing.” Paul plays the triangle in the bit. He misses cues and Martin screams at him through the whole bit. Paul is hilarious. The bit ends with Martin leaving and Paul asking, “Can I sing now?” Walls move and Paul walks onto the stage to sing Wonderful Christmastime, as himself.

Paul was fantastic on the Letterman show reminiscing about being there on the Ed Sullivan show. During the interview Dave says that they have been trying to get him on the show for years. He asks why it took so long to get him there, to which Paul says with a straight face, “I don’t like the show, David.” But THE highlight for me was to watch him do a rooftop performance of Get Back. I want to say that he wound up doing about a 40 minute concert from up there that night.

Another great Paul bit is when he shows up on James Corden’s show and does his Carpool Karaoke. The first song they sing together is Drive My Car and he’s having a blast doing it. The conversation between the two of them as they drive around is moving at times. Paul and James stop at Paul’s boyhood home and shares some great stories. The kicker is that they go to a pub that McCartney used to play at and he and his band surprise the patrons of it with a concert. It is worth a watch on Youtube –

As I write this, I have no idea what Beatle the other contributors have chosen. I am guessing that many of the pieces will be very music related. While I feel mine is also a bit music related, I also feel that what made Paul stand out to me was Paul being Paul. Paul, years away from the Beatles, talking about those days, the music, the memories, and the rest of the band. Paul, looking back at those early days that influenced and brought him to where he is today.

Not too long ago, country singer George Strait said he was done touring. George is 72. Sir Paul is 82 and still out there playing for sold out crowds for hours at a time. He is an artist who is always trying something new, while never forgetting his roots. He has a passion for the music and for his fans. He just seems to be that guy who’d be fun to hang out with.

Thanks to Dave for asking me to be a part of Turntable Talk. Thanks for another great topic. I love writing for it and love to see the responses from the other music lovers. Until next month … Thanks for reading.

Movie Music Monday – NUJV?

In 1965, The Beatles’ second feature film, Help! premiered at the London Pavilion Theatre in the West End of London. The musical comedy, which followed the success of A Hard Day’s Night, was a much larger production than its predecessor, finding the band and director Richard Lester shooting in a variety of international locations. The film’s soundtrack doubled as The Beatles’ fifth studio album.

Ok, before I go on, I need to clarify the title of this blog. Just what in the world is NUJV? Originally, the album cover showed The Beatles spelling out the word “Help” using the semaphore system of communicating with flags, which was usually used by ships. The photographer, Robert Freeman, didn’t like the pose because it looked unbalanced. Instead, he had them pose in a more “balanced” way – that in semaphore spells the letters NUJV.

Apparently, only those who knew semaphore saw the issue.

This movie played a big part in the way another group portrayed themselves. Help! was used by The Monkees to prepare for their TV series. The Beatles showed off their individual personalities in their movies, which The Monkees made sure to emulate. By not presenting all members of the band as identical, it made the Beatles even more popular, as many of their fans picked a favorite.

There certainly are some great tracks on the album: Ticket to Ride, Yesterday, The Night Before, Act Naturally, Dizzy Miss Lizzie, You’ve Got To Hide Your Love Away, I’ve Just Seen a Face, and the title track – Help! (Which is what I want to feature today.)

According to Lennon’s cousin and boyhood friend Stanley Parkes, “Help!” was written after Lennon “came in from the studio one night. ‘God,’ he said, ‘they’ve changed the title of the film: it’s going to be called ‘Help!’ now. So I’ve had to write a new song with the title called ‘Help!’.”

Fun Fact: The original title to the title song and the movie was “Eight Arms To Hold You,” and the first copies of the single said it was from the movie “Eight Arms to Hold You.”

Originally, John Lennon wanted this to be a much slower song. He was convinced, however, that by speeding it up, it would sound “more commercial” and would naturally sell more albums.

The song itself runs just 2:18, but packs in 267 words! This makes it one of the most lyrically dense hits of the era. It starts and ends on a vocal, and there are two vocal lines running throughout the song, as John Lennon sings lead while George Harrison and Paul McCartney do backgrounds, singing some of the same phrases either before or after Lennon. There are only a few seconds in the song where somebody isn’t singing.

Lennon admitted that the song truly was a “cry for help!” He has described this time of his life as his “fat Elvis period.” In a 1971 interview with Rolling Stone, Lennon said this is one of his favorite Beatles records, because, “I meant it – it’s real.” He added: “The lyric is as good now as it was then. It is no different, and it makes me feel secure to know that I was that aware of myself then. It was just me singing ‘Help’ and I meant it.” Paul McCartney helped Lennon write the song, but did not realize it was actually John calling for help until years later.

Writer Ian MacDonald describes the song as the first crack in the protective shell Lennon had built around his emotions during the Beatles’ rise to fame, and an important milestone in his songwriting style. In January of 1980, John told Playboy magazine, “The whole Beatles thing was just beyond comprehension. I was subconsciously crying out for help”.

As a bonus, here is the trailer for the film:

Turntable Talk #18 – The Man (or Woman) Behind the Curtain

It is time once again for another edition of Turntable Talk. This is a feature created by my friend Dave Ruch from the A Sound Day Blog. This is my 18th submission for this feature and it is something I look forward to writing each month.

This time around, Dave took us to the Land of Oz for inspiration. His instructions:

“Pay No Attention to That Man (Or Woman) Behind The Curtain” . Yep the famous phrase about the Wizard of Oz.

We’ve looked at a number of great artists – singers, groups, musicians – and their records. This time we’re switching it up just a little and are going to salute someone “behind the scenes” that was significant to music. All too often people do pay no attention to the people behind the curtain in music that are so important to the albums and groups we love. There are record producers, the record company bosses and talent scouts, the people on radio who used to make the hits happen, even unsung heroes like concert roadies. Pick one you feel is important and maybe a little un-noticed and tell us why!

As a former radio guy, I immediately thought I should write about a well known DJ. There are many of them who played a big part in the music industry. Dick Clark, Casey Kasem, Wolfman Jack and Alan Freed come to mind. However, I decided that I would feature a man who played on some of the biggest hits on the radio, yet until recently was relatively unknown.

40 years ago, James Jamerson passed away at the young age of 47. At the time he passed away, no one really knew who he was, despite being one of the best (if not THE best) bass player of all time! As a matter of fact, he often tops the list of Best Bass Players of all time by numerous publications. It has been said that he single-handedly revolutionized bass playing. I agree. His creative contributions to music certainly makes him a good pick for a “man behind the curtain.”

James Jamerson was born on January 29, 1936 in Charleston, SC. When his parents divorced, his mother moved to Detroit to find work. He would spend time with his aunt, grandmother and cousin. His aunt sung at church while his grandmother and cousin played piano. He spent time listening to gospel, Jazz, and blues music and that influenced his own musical abilities.

In 1954, his mother sent for him and he attended Northwestern High School. In the music room of the high school, he saw a stand up bass lying on the floor. He picked it up and began to play with it. He had “found” his instrument. He began to play at many of the Detroit area blues and jazz clubs.

He began to get noticed and he began playing for dances, weddings, frat parties, and other events. He was quite a local celebrity. It was hard to miss him driving through town with his bass sticking out the window of his car! Because he was still a minor, the good folks at the Detroit Police Dept. gave him a permit so that he could play in clubs that served alcohol. This allowed him to get more work.

Believe it or not, Wayne State University offered him a full ride music scholarship which he turned down! He was playing so often, he figured he was already in the music field, so why would he need to go to college? Instead, after he graduated high school, he joined up with Washboard Willie and the Super Suds of Rhythm (How’s that for a group name?!). It was during this time that he began to drink alcohol (which would eventually lead to his death).

In 1958, someone from the Northern Records label heard him play and asked him to sit in on the session recordings for the label. The unique way he played caught the ear of other labels. He began to work for Fortune, Tri-Phi, Anna Records, and eventually Motown.

He and the Funk Brothers (pianist Earl Van Dyke, drummer Benny Benjamin, and guitarists Robert White and Joe Messina) spent the days recording in the “Snake Pit” (the Basement of Motown Records) and playing at Jazz clubs in the evenings. Jamerson had switched from an upright bass to a brand new creation – the electric Fender Precision Bass.

The switch really made his work stand out. On some songs, he’d play the stand up bass and then double it with the electric. What made his work on the electric so awesome is that he played the electric just like he played the stand up bass – with one finger (which many folks called “the claw”).

While he is known for playing on many of the Motown songs, he also played on Boom Boom by John Lee Hooker, Whispers Getting Louder and Higher and Higher by Jackie Wilson, Agent Double-O-Soul by Edwin Starr, Cool Jerk by the Capitols, Show and Tell by Al Wilson, Boogie Fever by the Sylvers, and so many other hits! What made the Motown stuff so good was he had some free reign to be “James Jamerson.”

Musician magazine interviewed him in 1983 and he stated that the Motown songwriting and productions teams “would give me the chord sheet, but they couldn’t write for me. When they did, it didn’t sound right. When they gave me that chord sheet, I’d look at it, but then start doing what I thought would fit. I’d hear the melody line from the lyrics and build the bass line around that.”

One of the coolest examples of how he listened and did his thing was on two separate recordings of the same song. To help illustrate this, I found some isolated bass lines on YouTube that are fascinating! Jamerson played on Marvin Gaye’s I Heard It Through the Grapevine – a Motown classic! Check out the soulful line here:

Now check out the same song – and a funkier bass line – on the Gladys Knight Version:

I find it amazing that the same man can take the same song and make them so different.

Speaking of Marvin Gaye, the Funk Brothers shared a story about how Marvin wanted Jamerson to play on What’s Going On. James was out drinking and Marvin went out looking for him. When he found him, he brought him back to the studio. Jamerson was so drunk that he couldn’t even stand up! It was no problem for him, though, he just laid on his back on the floor and played on the track!

Trivia Bit: What’s Going On is the first track that Jamerson is credited on a recording.

It is said that James Jamerson played on almost every Motown song between 1963 and 1968. That would include over 60 songs that hit #15 or better on the charts. He also performed on 23 # 1 songs on the pop charts and 56 #1 songs on the R&B charts! Berry Gordy called him an “incredible improvisor” and said “I, like the other producers, would not do a session unless at least two of the Funk Brothers were present, namely Benny Benjamin and James Jamerson.”

Some of the other Motown songs that feature Jamerson:

Ain’t No Mountain High Enough – Diana Ross and the Supremes
Ain’t That Peculiar – Marvin Gaye
Ain’t to Proud to Beg – The Temptations
Baby, I Need Your Loving – The Four Tops
Baby Love – The Supremes
Bernadette _ The Four Tops
Can I Get a Witness – Marvin Gaye
Dancing in the Streets – Martha and the Vandellas
Don’t Mess With Bill – The Marvelettes
Going to a Go Go – Smokey Robinson and the Miracles
Home Cooking – Jr. Walker and the All Stars
It Takes Two – Marvin Gaye and Tammy Terrell
My Cherie Amour – Stevie Wonder
My Girl – The Temptations
Pride and Joy – Marvin Gaye
Reach Out, I’ll Be There – The Four Tops
Shotgun – Jr. Walker and the All Stars
This Old Heart of Mine – The Isley Brothers
Two Lovers – Mary Wells
What Becomes of the Broken Hearted – Jimmy Ruffin

You can also hear him on :

The Theme from S.W.A.T. – Rhythm Heritage
The Theme from Starsky and Hutch
Just Like Romeo and Juliet – The Reflections
Rock the Boat – Hues Corporation

The list of people who were influenced by Jamerson’s playing is almost as long as the list of songs he played on! Saxophone and bass player Wilton Felder called him “The Godfather of the electric bass.”

Suzi Quatro says, “I grew up in Detroit, so I was weaned on James Jamerson and Motown music. It’s in my DNA. He is still the best and I took my style from him. It’s hard to improve on what he did, because you are talking perfection.”

Sir Paul McCartney says, “Jamerson was where I picked up a lot of my bass style. Because bass players normally have to follow: we follow chords, follow the drummer, follow the vocalist, we have a following role. Suddenly the bass had power! We could dictate the direction of the music and add excitement. James Jamerson became just my hero, really.”

James Jamerson Jr. says, “As for his sense of syncopation, that was his God-given gift. I couldn’t even explain that one. I put it like this: My dad liked to dance, so he just danced on the bass. He would occasionally polish his bass, but he’d never touch the gunk that built up on that fingerboard. he told me the ‘dirt keeps the funk’.”

Years of drinking finally caught up with Jamerson. On August 2, 1983, he died of complications from cirrhosis of the liver, heart failure and pneumonia.

He was buried in Detroit’s Woodlawn Cemetery. A few years ago, Jamerson’s cousin saw a picture of his grave site. There was no headstone, only a grass marker. Eventually, the funds were raised and a proper headstone was set in place on August 27, 2021.

In 1989, Jamerson was the subject of a book loaded with great stuff – Standing in the Shadows of Motown. I think you can still get this on Amazon. A documentary of the same name was produced in 2002

He was posthumously inducted into the Rock and Roll Hall of Fame in 2000, received a Grammy Lifetime Achievement Award in 2004, and inducted into the Musicians Hall of Fame in 2007. Last month, in South Carolina, he was honored when a street was named for him.

It is a shame that it took so long for Jamerson and the Funk Brothers to get the recognition that they deserve.

As I prepared for this piece I found myself on YouTube listening to track after track of Motown stuff and listening with different ears. I focused on that bass line and really was blown away. These are songs I have heard countless times, yet focusing on that bass made them so fresh! As I said, the isolated tracks are an entirely different thing – it is so awesome to hear Jamerson “feel” and “drive” the tunes. It is no wonder that he is ranked the #1 bass player in the business by so many different sources, including Rolling Stone magazine.

Thanks again to Dave for allowing me to be a part of such a cool feature. I have already been impressed by the other blogger’s submissions. I am sure that they love taking part in this feature as much as I do.

Thanks for reading! Stay funky!